The basic aim is that your work looks coherent and that the assessors can effortlessly navigate it. It may take you a couple of assessment events to get this right but as you progress through the degree programme, repeatedly sending work for assessment you will develop and perfect ways of organising your work.
Investigative and experimental sampling requires both an open-mind and a focussed approach to ensure the work created is coherent, exciting and new.
Join OCA tutor Priscilla Jones on the 3 and 4 March in London. On Saturday we will visit Embellishment in Fashion at the Royal School of Needlework and on Sunday we will take in the Spring Knitting and Stitching Show at the Olympia.
This simple presentation meant the samples were easy for assessors to go through; the logic of the development was clear and any collections of samples were grouped together, either on one sheet or on a series of sheets.
Art students often label themselves according to the name of the course that they are studying; They become a ‘fine artist’, ‘photographer’ or ‘textile designer’. That’s okay but we are all adaptable creative thinkers and labels can be restrictive. I encourage students to look at other disciplines to inspire their own; to mix craft skill with wild ideas and to challenge processes by applying mindsets from other creative genres.
Many Artists and designers use more unconventional techniques and unusual methods, usually from other fields to create their collections. Sometimes using materials or processes that are technology/science led bring very interesting outcomes and new ways of working that can open new doors for the future of Arts and Design.
I usually start working with paper as a medium for drawing and painting, to create collages, folding it to make 3D models… We may live in a digital world, but for creatives using paper has by no means diminished. Folded into origami and kirigami, laser-cut, layered and made into sculptures, artists can transform a humble sheet of old tree into a spectacular artwork.
Sarah’s response to materials: wood, metal, cardboard, is intuitive and honest. Pieces are made by hand, instinctively responding to the tactile qualities and structure of the materials creating forms that please her. Choosing not to add texture, embellishment or decoration the surfaces are left in their simple state.
OCA Textile’s tutor Jenny Udale has just completed the 3rd edition of ” the fundamentals of fashion” book by Bloomsbury, that she co-authored . It has just been published.
This September, Chelsea College of Art, showed the best of their MA Textile Design students work. I went to visit the exhibition in the…
I always come back to the acknowledgement of an individuals personality as a way of driving artwork. Personalities are unique and so being true to oneself when drawing, photographing or making is an essential ingredient in producing original outcomes
I have this conversation with students time after time about how a practitioner can explore what they perceive to be drawing. It can be a really interesting or frustrating chat – I genuinely do love to hear what others see drawing as, and what they themselves do in response to that word. Some like to really explore and experiment, whereas others just want to perfect a certain technique, or maybe don’t feel they want to or can push those boundaries. For me, drawing is a translation, from one view to another.